Hello. If you are reading this, it seems you have stumbled upon the page of Elliot Kronsberg. Read on, but beware the awe-inspiring writing that may follow.
Since before I can remember, I've been watching movies. Though I started with watching very infantile genre pieces (most of the genre animated family film), I have now ascended to enjoy finer films. I feel that it is only through the natural progression from Pokemon: The Movie to Psycho that I really understood what makes a great film. I've always loved science fiction films, to the point that I wanted to grow up and invent a time machine when I was little. But, when I was about thirteen years old, I changed my interests. Now, I am aspiring to be a filmmaker, specifically a writer/director, following in the footsteps of many before me.
I think my love of film really started after watching Kevin Smith's Clerks. This is a strange film to start with but I did not really enjoy movies until I discovered the other side of films: filmmaking. Clerks showed me that anyone with a basic education in filmmaking and a drive to accomplish the impossible could make a movie. Ever since that fateful day, I've been hooked. First, I watched all of Smith's films, starting with the rest of his View Askewniverse.
Then, I moved on to one of my favorite science fiction films of all time: Planet of the Apes. I probably watched Planetof the Apes about fifty times between my birth and the first time I watched Clerks, but for some reason, I never really appreciated the film until I could sit down and analyze how it was made. When I saw the film in this light, I was amazed by the innovative make-up and prosthetics used to create the apes. It only excited me more to learn that Rod Serling, the creator of The Twilight Zone, helped write the screenplay. Though the story was simple, both the themes of the film and the techniques used to execute them were visionary. SInce finally watching the film seriously, I have aspired to create a film as mind-blowingly innovative. Though I don't think it will happen, a guy can always hope, right?
Finally, my entry-point into the world of"serious" films was Terry Gilliam's The Adventures of Baron Munchausen, but since I did not really enjoy the film and all it did was introduce me to Terry Gilliam, I have to pick Fear and Loathing in Las Vegas to represent this stage. It is a blend of seriousness and fun. On the surface, it's a drug-laden surreal comedy with two men bumbling around the Las Vegas area, getting into to trouble and learning nothing. Really that's the whole story. But the quality of the film is far superior to the story: just watching for ten minutes, you'll see that Gilliam put a lot of work into making the film visually fantastic and a believable representation of what is going on in the minds of the characters.The cinematography in the film is great, especially compared to Gilliam's early projects with Monty Python. Even the screenplay has little quirks that separate the film from the story itself. When I watched this film, I realized that one could combine the visionary style of Planet of the Apes with the accessibility of Smith's Clerks to create a very quirky, visual piece. I really enjoyed the dark comedy aspect of the film, so it is no surprise that today, my favorite genre and the one that I keep coming back to over and over is the dark comedy. It's a hidden gem. Next time you're looking for a film to watch, scout out one of Gilliam's pieces from the '80s or '90s; it's definitely worth it.
After watching and reviewing many films, both new and old, I have selected the cream of the crop, the three best representations of my work this year. Please browse responsibly.
This page is a collection of my reaction to the film and analysis of two key scenes. This work does get a bit frank, so be prepared. I am not the biggest fan of Orson Welles or Citizen Kane, so do not expect any flattering remarks when it comes to his performance as Charles Foster Kane. There may be a couple, but don;t expect them; it makes it better when you just happen upon them and don't expect it.
This is simply an analysis of the title sequence to Amy Heckerling's Fast Times at RIdgemont High. This is not necessarily a very deep film, but I tried to draw as much meaning as possible from this scene to discover just what Heckerling is trying to say with the simple mall sequence to introduce her film.
Finally, we come to a piece on the 2013 science fiction film Oblivion. It is not the greatest film, but it is definitely one of Tom Cruise's best in the last couple of years. I don't want to give away to much of my review but I can say that though the film has Tom Cruise written all over it, it's a good film and I'd recommend watching it.
Hello. If you are reading this, it seems you have stumbled upon the page of Elliot Kronsberg. Read on, but beware the awe-inspiring writing that may follow.
Since before I can remember, I've been watching movies. Though I started with watching very infantile genre pieces (most of the genre animated family film), I have now ascended to enjoy finer films. I feel that it is only through the natural progression from Pokemon: The Movie to Psycho that I really understood what makes a great film. I've always loved science fiction films, to the point that I wanted to grow up and invent a time machine when I was little. But, when I was about thirteen years old, I changed my interests. Now, I am aspiring to be a filmmaker, specifically a writer/director, following in the footsteps of many before me.
Then, I moved on to one of my favorite science fiction films of all time: Planet of the Apes. I probably watched Planetof the Apes about fifty times between my birth and the first time I watched Clerks, but for some reason, I never really appreciated the film until I could sit down and analyze how it was made. When I saw the film in this light, I was amazed by the innovative make-up and prosthetics used to create the apes. It only excited me more to learn that Rod Serling, the creator of The Twilight Zone, helped write the screenplay. Though the story was simple, both the themes of the film and the techniques used to execute them were visionary. SInce finally watching the film seriously, I have aspired to create a film as mind-blowingly innovative. Though I don't think it will happen, a guy can always hope, right?
Finally, my entry-point into the world of"serious" films was Terry Gilliam's The Adventures of Baron Munchausen, but since I did not really enjoy the film and all it did was introduce me to Terry Gilliam, I have to pick Fear and Loathing in Las Vegas to represent this stage. It is a blend of seriousness and fun. On the surface, it's a drug-laden surreal comedy with two men bumbling around the Las Vegas area, getting into to trouble and learning nothing. Really that's the whole story. But the quality of the film is far superior to the story: just watching for ten minutes, you'll see that Gilliam put a lot of work into making the film visually fantastic and a believable representation of what is going on in the minds of the characters.The cinematography in the film is great, especially compared to Gilliam's early projects with Monty Python. Even the screenplay has little quirks that separate the film from the story itself. When I watched this film, I realized that one could combine the visionary style of Planet of the Apes with the accessibility of Smith's Clerks to create a very quirky, visual piece. I really enjoyed the dark comedy aspect of the film, so it is no surprise that today, my favorite genre and the one that I keep coming back to over and over is the dark comedy. It's a hidden gem. Next time you're looking for a film to watch, scout out one of Gilliam's pieces from the '80s or '90s; it's definitely worth it.
After watching and reviewing many films, both new and old, I have selected the cream of the crop, the three best representations of my work this year. Please browse responsibly.